Presented as a series of lectures, this important volume achieves four major goals: 1) It integrates the results of the author's research as applied to pattern perception -- reviewing current brain research and showing how several lines of inquiry have been converging to produce a paradigm shift in our understanding of the neural basis of figural perception. 2) It updates the holographic hypothesis of brain function in perception. 3) It emphasizes the fact that both distributed (holistic) and localized (structural) processes characterize brain function. 4) It portrays a neural systems analysis of brain organization in figural perception by computational models -- describing processing in terms of formalisms found useful in ordering data in 20th-century physical and engineering sciences. The lectures are divided into three parts: a Prolegomenon outlining a theoretical framework for the presentation; Part I dealing with the configural aspects of perception; and Part II presenting its cognitive aspects. The appendices were developed in a collaborative effort by the author, Kunio Yasue, and Mari Jibu (both of Notre Dame Seishin University of Okayama, Japan).
This study looks at developments in eighteenth-century drama that influenced the rise of the novel; it begins by asking why women writers of this period experimented so frequently with both novels and plays. Here, Eliza Haywood, Frances Burney, Elizabeth Inchbald, Maria Edgeworth, and Jane Austen explore theatrical frames--from the playhouse, to the social conventions of masquerade, to the fictional frame of the novel itself-that encourage audiences to dismiss what they contain as feigned. Yet such frames also, as a result, create a safe space for self-expression. These authors explore such payoffs both within their work-through descriptions of heroines who disguise themselves to express themselves-and through it. Reading the act of authorship as itself a form of performance, Anderson contextualizes the convention of fictionality that accompanied the development of the novel; she notes that as the novel, like the theater of the earlier eighteenth century, came to highlight its fabricated nature, authors could use it as a covert yet cathartic space. Fiction for these authors, like theatrical performance for the actor, thus functions as an act of both disclosure and disguise-or finally presents self-expression as the ability to oscillate between the two, in "the play of fiction."
